Q&A: You Can Sleep When You're Dead

Theatre Lab co-artistic directors Omar Hady and Michael Orlando are fatigued but alert as they prepare to unveil You Can Sleep When You're Dead, a collaborative theatre experience taking over the historic Campbell House Museum this Halloween. Featuring original writing by Glyn Bowerman, David Brock, Omar Hady, Graham Isador and Kat Sandler, the show invites audiences on a haunted journey through the house where they will encounter various restless spirits with unresolved issues, and bare witness to such horrors as a live heart being ripped out from a chest at a wake, a brutal strangling occurring in the dining room, human remains being cooked in the kitchen, an invitation to a secret society, and an exorcism on the second floor.

We caught up with Omary Hady and Michael Orlando to find out more about this supernatural undertaking.

Theatromania: Tell us about You Can Sleep When You’re Dead. What inspired this spooky night of theatre at the Historic Campbell House?

OH: About a year ago, after having seen a show in the Campbell House, I had the idea of writing a play about exorcism. I dismissed the idea because I was scared of having to deal with the challenge of pulling something like that off. Then about a month after throwing that idea away, I heard someone talk about why they don't see theatre. "Sitting in my underwear on my couch is a better experience then rubbing elbows with strangers in an uncomfortable folding chair, it takes a lot for me to see theatre because it's not as exciting as what I can see in my home." As ignorant as that person was, I couldn't help but relate and understand where he was coming from. I went back to materializing my idea with the determination of staying away from being polite and safe. I want to get that lazy ass, in underwear, off the couch. What better way to do that then to invite him to an exorcism. From there we took off with a bunch of dark twisted ideas and combined that with a whole bunch of artists we wanted to work with.

MO: Omar had mentioned to me more than once about wanting to actually "stage an exorcism." I thought it was a great idea, but wasn't sure if it would work in a traditional theatre. Sometime later when he added that he wanted to create a site-specific piece, with the exorcism as the central element, my brain caught on fire. From there we went about collecting ideas for other scenes that could happen in the house, in each something terrible happens. We asked a bunch of artists that we always have wanted to work with and built this huge team. We have always been trying to get people to see theatre who don't like the "idea of theatre" or have preconceived notions about what the experience is. With this, we tried to create an event, and not just a play.

Theatromania: What can audiences expect to see on the haunted tour? Does every room have a story?

OH: The audience should expect a slight stimulation of their dark minds, but other than that they should be prepared for the unexpected.

MO: I would say there is a story that takes place in every room, and the house in the through line. The audience will be led through several scenes that will challenge them. An audience member should be prepared to see things that make them scared, uncomfortable, sad and laugh out loud.

Theatromania: Did you encounter anything frightening during rehearsals?

OH: It was moving to rehearsals that made things easier. I was reminded that this is all just make believe and we are still in the convention of making theatre, but researching and writing was a whole different experience. I was alone and for the most part sitting in the dark with the bright light of my laptop shining in my face. I am convinced that while developing the exorcism scene that I may have conjured up spirits. It could all be in my head mainly because of what I was engrossed in. I know when I'm alone in a room and when I'm not, and when I was writing alone in a room I never felt threatened but never felt like I was alone either.

MO: During some of the scenes, I felt that maybe I was tempting fate and "asking for it," if that means anything. In many ways this show seeks to dismiss convention and trample over things that are traditional and perhaps even sacred. When all of the actors have been in the Campbell House together, there is a very distinct energy, and I hope the audience will feel that as well. I don't envy the research that Omar had to do, watching terrible things online and then trying to sleep.

Theatromania: What advice would you give people before entering Campbell House the week of All Hallow’s Eve?

OH: These stories are not polite in anyway and neither should our audience be. The audience will be less than five feet away from disturbing things that are happening. I would say to let yourself feel whatever it is you feel. If you want to laugh, cry, scream then do it and don't think it will take away from anything. The audience should let themselves be immersed in the scene because really they won't have a choice.

MO: One of the big advantages to a site-specific show, and this one in particular, is that the audience is right in it with the actors. We can make things subtle and small if we want to, because everyone will be able to hear and see everything. I echo what Omar said, from day one we decided not to be polite, and we want the audience to arrive ready to see anything. This is not a stuffy "play-of-manners." Get in there and let yourself feel something.

Theatromania: What’s next for Theatre Lab?

OH: Next for Theatre Lab is sleep and vacation. After that we are not too sure. We have tons of ideas, but we are always waiting for the right time and the right idea to come together. One thing I know for sure is that there is always something next for Theatre Lab.

MO: I think we both need to lay low for a week and hope some of our hair grows back. This is the biggest project we have ever done, and I am really proud of the work, but it has taken a lot out of us to get this thing to where it needs to be. Omar and I are always thinking about the next thing, and you can be sure it will be something new.

You Can Sleep When You're Dead runs from October 24-31 at the Campbell House Museum (160 Queen Street West). Shows at 7pm and 9pm every night. Visit theatrelab.ca for more information and to buy tickets.

You Can Sleep When You're Dead from Theatre Lab on Vimeo.